O cravo na música de Câmera contemporânea brasileira

• Ano de defesa: 2009
• Autor(a) principal: PAVAN, Beatriz Carneiro
• Orientador(a): RAYMUNDO, Sonia Marta Rodrigues
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Mestrado em Música
• Departamento: Linguística, Letras e Artes
• País: BR
• Palavras-chave em Português: cravo brasileiro; música de câmara contemporânea brasileira; idiomatismo no cravo; compositores brasileiros; Jan La Rue
• Palavras-chave em Inglês: Brazilian harpsichord; Brazilian contemporary chamber music; idiomatism in the harpsichord; Brazilian composers; Jan La Rue
• Área do conhecimento CNPq: CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tde/2721

This work discusses the role of the harpsichord in Brazilian contemporary music particularly in chamber music. After a brief contextualization of harpsichord in Brazilian chamber music, the work develops in five main parts, namely: part 1 a description of the harpsichord since its origins in the monochord of Pythagoras until the models constructed in present time; part 2 the harpsichord s mechanism is presented in such a way as to elucidate the instrument performance possibilities; part 3 an analysis of idiomatic aspects of the instrument and their influence in interpretative and compositional decisions; part 4 the available repertoire and the process used to organize it including Brazilian solo and chamber music for the instrument. The works are organized by composer, date and medium; part 5 - analytical comments of selected works to be presented in the masters recital. The comments combine Jan La Rue s view with the idiomatic aspects discussed in the part 3 of this paper. The commentaries consider both compositional and performance possibilities. Aspects analyzed include form, instrumentation, level of difficulty, dynamics indication, registration, metric, fingering, use of expanded technique, performance notes and ad-libitum passages (or random elements). As a conclusion, it was possible to organize several Brazilian works for harpsichord in various compositional styles